I often load a kiln over a period of a week or two just to ge something unfinished pieces out of the way. When you say you have no time constraints, you may do the same. I imagine you know this, but just in case you do not, don't let your greenware freeze, or it will likely crack.

I have only used it once, as a class requirement to use it in making a sculpture. It was nothing like using regular clay. Perhaps I just got a bad box, but I hated it.
If your goal is to gain proficiency in making clay sculpture, go with real clay. Even if you cannot fire it, you will be gaining experience.

It would be wise to read your policy to see if there is anything in there about kilns or home businesses. My experience is that insurance companies work hard at finding reasons to deny claims. Those long, confusing policies, ie contracts, are provided for the insurer's benefit.
I figure I have insurance so I can sleep better knowing I am covered if there is a fire, etc. Not following the contract would mean paying the premium but still worrying I would not be covered. That's a heck of a risk.

Someone on here once said he numbered every glaze that came into his studio. Doing so allows you to keep meticulous records with less writing. You could even work out a system adding letters to identify each manufacturer and another letter for your own glazes.

I love so much of the ceramics in the Metropolitan Museum of Art in NYC. I enjoy looking at the various forms which are the same ones we make today. The celadons of the Asian pottery are stunning.
What I find most moving is the pottery from the Egyptian tombs. It seems incredible to be that close to ancient pottery, some of it nearly 6000 years old. There is a perky little bowl on two human feet that look ready to walk away. I think about the potter who created it and wonder what her mood was at the time. There is a photo of it here http://www.metmuseum.org/toah/ht/?period=02&region=afe

I have not and probably will not. Maybe someone near you has some they would let you dip a small piece in. If you want me to do a test tile for you, send me a private message, and I will send my address. I fire to cone 6.

Interesting article http://cultkiev.com/en/news/the-pottery-is-a-heaven-born-craft .
I am trying to figure out what substance in cow's milk would not burn out in a firing. It is only about 70 miles from Kiev to Chernobyl.

If you are willing to go to cone 6, check out the Coyote Glaze greens, particularly green shino. They have a couple others that look close. It is difficult to know unless you fire them on a particular clay. If you happen to have the equipment, spraying would eliminate brush strokes.
Another option would be using underglazes to get the color you want and then adding a clear satin glaze. Some clear glazes will change the color of green underglaze, so you would need to make sure to get one that does not.